Latin American social medicine (LASM) emerged as a movement in the 1970s and played an important role in the Brazilian health care reform of the 1980s, both of which focused on decentralization and on health care as a social right. The dominant health care reform model in Latin America has included a market-driven, private subsystem for the insured and a public subsystem for the uninsured and the poor.

Thesis (Ph. D.)--University of Rochester, Graduate Program in Visual and Cultural Studies, 2009.; Art historians and social scientists have understood the political and cultural
struggles in Latin America during the sixties and seventies as an expression of the
binary context of the Cold War and as mainly based on utopian, humanist and
leftist models of cultural production. Drawing on the work of Arturo Escobar, I
consider these struggles as part of developmentalism: a discursive formation that
colonized African, Asian and Latin American realities after World War II, and gave
shape to the invention of the Third World. This project explores the way in which
conflictive dialogues among artists, art historians, and critics are representative of
the emergence of other forms and scenarios of power and resistance in Latin
America, different from the either/or approach hitherto used to understand the
period. Considering the consolidation of studies of Latin American art to be a
strategy of this discourse, I examine a group of artistic projects which, by using
strategies of appropriation, mimicry and cultural anthropophagy, among others,
resisted developmentalism and the modernist rhetoric of art history. In so doing,
they anticipated feminist...

Concha Meléndez opened up a venue for the discussion of a Latin American identity in works of literature when she implied that the great Latin American novel would gestate in the cities, the space where the typical Latin American would achieve an ideal state of consciousness and intellectual capabilities. ^ Her point of view mirrored nineteenth-century debate on a Latin American identity. Similar to her viewpoint, intellectuals of this period viewed the cities and their inhabitants of European extraction, as the ideal spaces and people on which an identity could be defined. However, the present state of urban and rural areas in Latin America demonstrates that there is no such clear-cut division of city and countryside or of their inhabitants. The dynamics of movement, from rural to urban areas, of people of diverse ethnic, and socioeconomic backgrounds, make it difficult to uphold descriptors of space, race, or culture, as sole descriptors of an identity. ^ A study of five twentieth-century novels from North and South America, La muerte de Artemio Cruz (1962), Hasta no verte Jesús mío (1969), Los ríos profundos (1981), La casa de los espíritus (1982), and Los años con Laura Díaz (1999) reveal that the dynamism of movement...

Fonte: University of Florida Latin American Data Bank; University of Florida Latin American Data Bank ( Gainesville, FL )Publicador: University of Florida Latin American Data Bank; University of Florida Latin American Data Bank ( Gainesville, FL )

Fonte: University of Florida Latin American Data Bank; University of Florida Latin American Data Bank ( Gainesville, FL )Publicador: University of Florida Latin American Data Bank; University of Florida Latin American Data Bank ( Gainesville, FL )

The UF Center for Latin American Studies was founded in 1930 and has been recognized as a National
Resource Center by the US Department of Education since the early 1960s. The mission of the Center for
Latin American Studies is to advance knowledge about Latin America and the Caribbean and its peoples
throughout the hemisphere. With over 170 faculty members from colleges across UF, the Center is one of the
largest institutions anywhere devoted to interdisciplinary research, teaching and outreach on Latin American,
Caribbean, and Latino Studies.

Rooted in Venezuela, El Sistema is a visionary global movement that has transformed the lives of youth through music since 1975. A Boston public charter school restructured and invigorated its’ curriculum with the El Sistema music program in September 2010. The pedagogical focus of El Sistema is the orchestra, a model for an ideal community that advances the social and performance skills of students empowering their personal and musical development. Our project aimed to assess the impact of El Sistema, a Latin American education initiative, on an American urban charter school.
Self-regulation, motivation, peer-respect and responsibility are the skills and behaviors that were of interest and markers for cognitive, emotional and social development beyond academic achievement. We observed and collected perceptions of social and behavioral changes in students and assessed the potential positive musical influence of El Sistema through a qualitative and quantitative music literacy test. In our observations, the El Sistema curriculum has been perceived as a positive influence on the students’ social and behavioral development. Participating in the program provides students with valuable social interactions, enabling them to engage in collaborative learning...

One of the most significant events in the history of Ibero-American musicology is certainly the launching, almost 33 years ago, of Robert M. Stevenson’s journal Inter-American Music Review. Unique in conception as well as execution, it became a major venue for leading research on an impressively wide array of topics, covering all of the Americas and related themes in Europe, Africa, and Asia.
Inter-American Music Review was notable precisely because there was nothing else like it. Though its name recalled Béhague’s equally important Latin American Music Review, the scope of Stevenson’s journal was larger. A random sampling of titles illustrates this point: “Pedro de Escobar: Earliest Portuguese Composer in New World Colonial Music Manuscripts,” “Brahms’s Reception in Latin America, Mexico City: 1884-1910,” “Charles Louis Seeger, Jr. (1886-1979): Composer,” “Ignacio Jerusalem (1707-1769): Italian Parvenu in Eighteenth-century Mexico,” “Marianna Martines = Martínez: Pupil of Haydn and Friend of Mozart,” and “Albéniz in Leipzig and Brussels: New Data from Conservatory Records.” Numerous distinguished scholars contributed to this journal, though many of the articles were written by Stevenson himself...

In the beginning of the 1960s the Rockefeller Foundation gave two grants for the study of Latin American music. Their aim was to help the creation of institutions that would provide a ???sustaining environment in which cultural work may flourish.??? The first grant was for the Centro de Altos Estudios Musicales at the Torcuato Di Tella Institute in Buenos Aires, Argentina, which under the leadership of Alberto Ginastera offered advanced training in musical composition. The second grant was given to Indiana University, Bloomington, ???to establish the first center in the United States for the study and performance of Latin American music???1 under the direction of Juan Orrego-Salas. Major emphasis was to be put on the cooperation between both centers. Behind these two projects was John P. Harrison, Assistant Director for Humanities at the Rockefeller Foundation.
Studies on public and private support for the arts, often called the ???economics of the arts,??? frequently fail to recognize the personal connections between the people formulating foreign policy, pushing forward specific corporate interests, and deploying resources through grants, endowments and donations. By looking at the Rockefeller Foundation???s project to create the CLAEM in Buenos Aires...

What do we in the United States know about Latin American art music and how do we know it? For several decades now, our understanding of this repertory has been informed by constructions of difference, often sustained by exoticist, nationalist, or essentialist rhetoric. One scholar, for example, proposes that Latin American music is filled with ???irresistible, exotic color??? whereas another proffers unelaborated references to ???national effect??? and ???national character.??? As for essentialism, adjectives such as ???distinctive??? or ???characteristic??? abound, ensuring that Latin American art music is perceived as ???particular and thus oppositional,??? to quote Ruth A. Solie???s pioneering study of musicology and difference. Indeed, as recently as 2005 one US scholar argued that Aaron Copland was attracted to Latin American music for its ???potential for transgression.???
Yet things were not always this way. From the 1920s through the early 1950s, any number of US critics, scholars, composers, and performers considered Latin American music in terms of what Kofi Agawu has called ???embracing sameness.??? Instead of situating some tantalizing Other in a ???colorful??? South-of-the-border locale, these historical actors embraced universalism...

Olin Downes, influential music critic of the New York Times from 1924 until his death in 1955, was an indefatigable supporter of contemporary music and his interest extended to Latin American composers such as Carlos Ch??vez, Alberto Ginastera, Camargo Guarnieri, and Heitor Villa-Lobos. Downes???s reviews and newspaper pieces in relation to the New York World???s Fair from 1939 were especially instrumental in consolidating the reputation of Villa-Lobos in the United States. Downes thought highly of Ch??vez not only as a composer but also as a conductor, whom he compared in favorable terms to Arturo Toscanini???s tenure with the New York Philharmonic. Downes established a particularly enthusiastic relationship with Villa-Lobos and his music, about which he wrote more often than that of any other composer from Latin America. The Brazilian composer reciprocated in kind by dedicating to Downes his Symphony No. 8 from 1950.
This paper examines Downes???s music criticism in the New York Times, especially his reviews of Latin American music performances, as well as his papers and unpublished correspondence, which mostly survive at the University of Georgia in Athens. Although it is clear that Olin Downes???s support of Latin American music was indefatigable and genuine...

The following is a recording of a lecture-recital presented by visiting Fulbright Scholar, Brazilian pianist Cristina Capparelli Gerling on Tuesday, January 21st, 2014, at 7:00 pm at the IU Jacobs School of Music???s Ford Hall. This lecture is the first in a series of lecture recitals presented throughout the Spring 2014 semester at IU, where Capparelli discussed key works from the twentieth-century Latin American Piano repertoire, exploring compositional aspects and instrumental demands in several genres, highlighting their distinctive social, historical, and cultural implications and backgrounds. In addition to the sound file of the lecture-recital, we have also included a pdf of the powerpoint slides used by Cappparelli during the lecture, and a bibliography provided by Capparelli.; The ???Piano Sonatinas??? lecture demonstrates and discusses concepts related to the various aspects of Latin American musical production for the piano such as the experimental, the intimate, the domestic, the miniaturized, and at a times the instructional. All of these aspects fit elegantly and effortlessly within neoclassical formal paradigms as shown in the works of Latin American composers Juan Bautista Plaza (Venezuela); H??ctor Tosar (Uruguay); Roque Cordero (Panam??); Luis A. Escobar (Colombia)...

This dissertation investigates how non-academic agents (i.e. artists, curators, and institutions) helped construct the current canon of Latin American art. It takes as case studies key exhibitions held in Brazil in order to examine how the central concepts of anthropophagy, geometric abstraction, and the political came to characterize the art of the region. Drawing on extensive archival research and interviews, this work traces a local genealogy, thus offering a different starting point for understanding the Latin American art canon that has been recently institutionalized in such places as the Museum of Modern Art (MoMA) in New York as part of the global turn in art history.

Citing their different language and colonial history, Brazilian artists and critics have tended to view their art production as distinct from that of the rest of the continent. This dissertation, by contrast, recognizes Brazil as a fundamental player in the shaping of both a Latin American cultural identity and an expanded notion of the Americas. This expansion of Latin American art influences how artists represent themselves and how such production is actively being inserted into collections around the world.

Schmidt-Cruz, Cynthia; According to the Royal Spanish Academy, fear is defined as the anxious
disturbance in one???s mood caused by a perceived risk, whether real or imaginary.
Taking into account the tumultuous history of the Latin American continent during
certain periods, there is no doubt that fear constitutes a key aspect in Latin American
literature of the 20th and 21st centuries. As a literary artifact with growing cultural
relevance, the Latin American novela negra has developed as a means of social
criticism that reflects upon violence, corruption and impunity within a political
context. In addition to denouncing a corrupt social environment, the novela negra
reflects the psychological trauma resulting from institutional violence in Latin
American societies. This study analyzes the novels 77 (2008) by Guillermo
Saccomanno and Abril rojo (2006) by Santiago Roncagliolo with the intention of
demonstrating how the psychological development of their respective protagonists
serves to reflect institutional violence and corruption, thus leading to the exposition of
a social criticism.
The focus of my analysis places emphasis on the portrait that these novels
convey of a general mood of fear both on an individual and societal level. By
situating each novel within the crime fiction genre...

This paper tackles the role played by sociology in the analysis of the transformation processes in the Latin American societies, in following the construction process of both State and Nation, and in questioning the social issues in Latin America. Six periods of sociology in Latin America and in the Caribbean Islands are analyzed: (i) sociology's intellectual inheritance; (ii) the authoritative-teaching sociology; (iii) the "scientific sociology" period and the configuration of the "critical sociology"; (iv) the institutional crisis, consolidation of the "critical sociology", and the diversification of sociology; (v) the sociology of authoritarianism, of democracy, and of exclusion; and (vi) the institutional consolidation and the worldization of sociology in Latin America (from the year 2000 on). It can be said that the distinctive features of the sociological knowledge in the continent have been: internationalism, hybridism, critical approach to the processes and conflicts in the Latin American societies, and social commitment on the part of the sociologist.